A Merry Devil - Launcelot Gobbo in the Merchant of Venice A Merry Devil: Launcelot Gobbo in The Merchant of Venice From The Fools of Shakespeare by Frederick Warde. London: McBride, Nast & Company. In that delightful comedy, "The Merchant of Venice," we have a type of the shrewd but ignorant serving man, or boy, drawn on the same lines as Launce and Speed in "The Two Gentlemen of Verona," and the two Dromios, in "The Comedy of Errors," but apparently younger and less matured than either of them. His name is Launcelot Gobbo, a fact of which he is somewhat proud. He has a crude philosophy and a rude kind of wit. He uses big words and misapplies them most ingenuously. He is good-natured, full of fun, and rejoices in a practical jest. Launcelot is the servant to Shylock, a wealthy Jewish merchant and money lender of Venice, with whom he lives and of whom he stands in wholesome awe.

His fun-loving nature, however, has served to brighten the dull and dreary home of that stern and revengeful gentleman, a fact that Jessica, the Jew's daughter, frankly acknowledges in her first interview with the boy. Our house is hell, and thou a merry devil Did'st rob it of some taste of tediousness. Launcelot does not appear until the second scene of the second act of the comedy, when we find him stealthily leaving his master's house. We learn that he feels aggrieved at some apparent wrong at the hands of his employer, and is debating whether to remain in his service, or to run away. His soliloquy or self-argument on the point is most entertaining. He would be just, but being both plaintiff and defendant, as well as advocate and judge of the question at issue, he can scarcely be credited with impartiality. However, the motives that he frankly acknowledges, and the reasons he advances are most delightfully human, and most humorously expressed. The entire passage is a quaint, and by no means unnatural, self-contention between duty and inclination; the conclusion, as a matter of course, being in favor of inclination.

Certainly, my conscience will serve me to run from this Jew, my master: the fiend is at mine elbow, and tempts me, saying to me, "Gobbo, Launcelot Gobbo, good Launcelot, or good Gobbo, or good Launcelot Gobbo, use your legs, take the start, run away." My conscience says - "No; take heed, honest Launcelot; take heed, honest Gobbo; or," as aforesaid, "honest Launcelot Gobbo; do not run; scorn running with thy heels." - Well, the most courageous fiend bids me pack; via! says the fiend; away, says the fiend; for the heavens rouse up a brave mind, says the fiend, and run.

Well, my conscience, hanging about the neck of my heart, says very wisely to me - "my honest friend Launcelot, being an honest man's son" - or rather an honest woman's son; - for, indeed, my father did something smack, something grow to, - he had a kind of taste; - well, my conscience says - Launcelot, budge not;" "budge," says the fiend; budge not," says my conscience. Conscience, say I, you counsel well; fiend, say I, you counsel well; to be ruled by my conscience, I should stay with the Jew, my master, who, Heaven bless the mark! is a kind of devil; and, to run away from the Jew, I should be ruled by the fiend, who, saving your reverence, is the devil himself: certainly, the Jew is the very devil incarnation, and, in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew : the fiend gives the more friendly counsel! I will run; fiend, my heels are at your commandment, I will run.

However, Launcelot does not run; he is spared that violence to his conscientious scruples by the unexpected advent of his father, an old Italian peasant, whose voice is heard calling in the distance, and halts the would-be runaway. Launcelot's decision of character is not very marked, nor his resentments very strong, for in a moment his wrongs are forgotten, and he is designing a practical jest on his aged parent.

"O heavens!" he exclaims, "this is my true-begotten father; who, being more than sand-blind, high-gravel-blind, knows me not: - I will try confusions with him." Old Gobbo, bent with age, almost blind, and feeling his way by the aid of a staff, hobbles on the scene; he carries a small basket on his arm, and in a voice of "childish treble" cries: "Master young gentleman, I pray you, which is the way to master Jew's?" Launcelot takes the old fellow by the shoulders, and turns him first to the right, then to the left, and finally completely round, giving him the following, somewhat confusing directions: "Turn up on your right hand at the next turning, but at the next turning of all, on your left; marry, at the very next turning, turn of no hand, but turn down directly to the Jew's house." Small wonder that the old man exclaims: "By God's sonties, 'twill be a hard way to hit." However, he is seeking and most anxious to find his son, and as soon as he has recovered from the jolting he has received at the

 hands of his demonstrative informant, he asks him the following most extraordinary and confusing question: "Can you tell me whether one Launcelot, that dwells with him, dwell with him, or no?" This is excellent matter for the boy to try confusions with, so he answers question with question, prefacing it, however, with an aside, "Mark me now; now will I raise the waters.

Talk you of young Master Launcelot?" But the old man will not admit that his son is entitled to the dignity of "Master" Launcelot: so that eccentric young gentleman, who certainly has a novel sense of humor, tells him that his son is dead.

The sincere grief of the old man evidently shames the boy, for he quickly changes his tone, and asks: "Do you know me, father?" Old Gobbo pitifully replies: "Alack, sir, I am sand blind; I know you not." This induces some shrewd observations from Launcelot, which are worthy of note: "If you had your eyes, you might fail of the knowing me: it is a wise father that knows his own child." Launcelot then kneels down with his back to his father, and continues: "Give me your blessing: truth will come to light, murder cannot be hid long, a man's son may, but in the end truth will out." The old man has been deceived once and hesitates; upon which Launcelot exclaims with some impatience: "Pray you, let's have no more fooling about it, but give me your blessing; I am Launcelot, your boy that was, your son that is, your child that shall be." Still the old man is not convinced, and protests: "I cannot think you are my son." To which Launcelot answers: "I know not what I shall think

 of that; but I am sure Margery, your wife, is my mother." This is conclusive, and Old Gobbo proceeds to lay his hand upon his son's head to give him his blessing; but Launcelot having knelt with his back towards him, the paternal hand encounters the back of the boy's head which is crowned with a luxurious growth of hair, and causes the old man to exclaim: "Lord worshipp'd might he be!

what a beard thou hast got: thou hast got more hair on thy chin than Dobbin, my fill-horse, has on his tail." Which informs us, that though "exceeding poor," Gobbo is sufficiently well off to own a shaft horse, and as he subsequently states, he has brought a dish of doves as a present to Launcelot's master, we may infer that he and his wife Margery cultivate a piece of ground, or a small farm outside the city; and possibly raise pigeons and doves, a not uncommon industry among the Italian peasantry. Having established his identity with his father, Launcelot proceeds to tell him of his intention to run away from the Jew's service, and we gather his reason to be, that he does not get sufficient food to satisfy his youthful appetite; but perhaps the fact that the Lord Bassanio is engaging servants, and giving them "rare new liveries," may be the temptation. The contemptuous reference to the Jewish race by this ignorant boy, and his vulgar pun on the word Jew are significant indications of the general prejudice against the Jews at this period; not only in Venice, but in all parts of the civilized world.

Well, well; but, for mine own part, as I have set up my rest to run away, so I will not rest till I have run some ground. My master's a very Jew; give him a present! give him a halter; I am famish in his service; you may tell every finger I have with my ribs. Father, I am glad you are come; give me your present to one Master Bassanio, who indeed gives rare new liveries; if I serve not him, I will run as far as God has any ground. - O rare fortune! here comes the man: - to him, father; for I am a Jew if I serve the Jew any longer. The interview between Old Gobbo, his son, and the Lord Bassanio is delightfully entertaining. Launcelot's usual volubility halts in the presence of the young nobleman, and his father's assistance becomes necessary to prefer the suit "impertinent" to himself, and express "the very defect of the matter." However, the suit is granted, and Launcelot is instructed to take leave of his old master, and report at the lodgings of his new employer.

The self-satisfaction of Master Launcelot at his success is most humorously expressed, and with an egotism equally amusing; while his optimistic views of the future, obtained from the lines in his hand, indicate a confidence in the science of palmistry, which the author evidently does not share. Father, in. - I cannot get a service, no; I have ne'er a tongue in my head. - Well, if any man in Italy have a fairer table, which doth offer to swear upon a book! - I shall have good fortune. - Go to, here's a simple line of life; here's a small trifle of wives; alas! fifteen wives is nothing! eleven widows and nine maids is a simple coming-in for one man; and then to 'scape drowning thrice, and to be in peril of my life from the edge of a feather bed, - here are simple 'scapes. Well, if Fortune be a woman, she's a good wench for this gear. - Father, come; I'll take my leave of the Jew in the twinkling of an eye.

Notwithstanding his scruples of conscience that caused him so much anxiety, when we first met him, Launcelot has not been entirely loyal to his master, and on leaving we find him secretly bearing a letter from Jessica, the Jew's daughter, to her young Christian lover, Lorenzo. The missive requires a reply which Launcelot obtains verbally, and the cunning young rascal cleverly manages to convey it to the young Jewess, while bearing an invitation to her father, from his new master, Bassanio. His words are not brilliant, but serve to indicate his ingenuity. Mistress, look out at window, for all this; There will come a Christian by, Will be worth a Jewess' eye. Launcelot accompanies his new master to Belmont, where on our next meeting we find him comfortably installed; very much at home, and in a new livery. He is still bandying words with Jessica, who is now the wife of Lorenzo, and, in the absence of Portia, mistress of the house. His self-esteem seems to have grown in his new service, his vocabulary has increased, and he speaks with more authority, but with the same unfortunate propensity for punning.

He is obviously favored by his "betters," and like many others of small mind takes advantage of that fact to speak with a freedom that is not entirely devoid of impudence. However, his humor atones for much, and his good-nature accomplishes the rest. The dialogue quoted (with some slight eliminations) below takes place in the garden of Portia's house (Act 3, Scene 5). It is apparently the continuation of a discussion of the old theme of Jessica's parentage, and her father's sins; Launcelot taking a literal view of the scriptural precept in her case. Laun. Yes, truly; for, look you, the sins of the father are to be laid upon the children; therefore, I promise you, I fear you. I was always plain with you, and so now I speak my agitation of the matter; therefore, be of good cheer; for, truly, I think thou art damned. There is but one hope in it that can do you any good. Jess. And what hope is that, I pray thee? Laun. Marry, you may partly hope that you are not the Jew's daughter. Jess. So the sins of my mother should be visited on me.

Laun. Truly then I fear you are damned both by father and mother; thus when I shun Scylla, your father, I fall into Charybdis, your mother; well, you are gone both ways. Jess. I shall be saved by my husband; he hath made me a Christian. Laun. Truly, the more to blame he; we were Christians enow before; e'en as many as could well live, one by another. This making of Christians will raise the price of hogs; if we grow all to be porkeaters, we shall not shortly have a rasher on the coals for money. The entrance of Lorenzo puts an end to Launcelot's calamitous predictions, and that gentleman having little appreciation of the latter's verbal fooling, directs him. "Go in, sirrah: bid them prepare for dinner." To which the irrepressible Launcelot replies: "That is done, sir; they have all stomachs." With some impatience, Lorenzo exclaims: "Goodly Lord, what a wit-snapper art thou!

then bid them prepare dinner." This does not discourage the boy, who responds: "That is done too, sir; only, cover is the word." Lorenzo, with some irritation, seeks to bring this equivocation to a close, and now gives his directions with emphasis: "I pray thee, understand a plain man in his plain meaning; go to thy fellows, bid them cover the table, serve in the meat, and we will come in to dinner." The imperturbable self-esteem and good-nature of Launcelot is proof, however, against censure or sarcasm; and with unruffled gravity he replies with humorous iteration: "For the table, sir, it shall be served in; for the meat, sir, it shall be covered; for your coming in to dinner, sir, why, let it be as humors and conceits shall govern." And having thus delivered himself, Launcelot makes a dignified exit from the scene. Lorenzo's apostrophe to Launcelot's discourse is an admirable summary of the shallow mind, that mistakes the mere jugglery of words for wit.

It was a favorite method of Shakespeare's to furnish humor in his "simples" and serving men, and proved an amusing diversion in their mouths: but, in others, it is the unconscious tribute that ignorance and incapacity pays to knowledge and distinction. Lor. O dear discretion, how his words are suited! The fool hath planted in his memory An army of good words; and I do know A many fools that stand in better place, Garnish'd like him, that for a tricksy word Defy the matter. Launcelot makes one more brief appearance, to announce the early return of Bassanio to Belmont, and as a harbinger of glad tidings we leave him in the service of a noble master and a gracious mistress. The business of the Shakespearean clowns is traditional. It has been handed down by comedians from generation to generation. It was familiar to every stage manager of experience, in the days of the resident stock company; and any departure from the conventional business of these parts was, until recently, viewed with disapproval, and regarded as presumption. A most interesting and unique performance of Launcelot Gobbo was given some years ago by that sterling character actor, Mr.

Robert Peyton Carter, so long associated with Miss Maude Adams. I was the Shylock of the performance to which I refer. Mr. Carter's Launcelot was not a boy, but a humorous and mischievous young man. At no time during the performance, even when trembling with fear before his master, was a smile absent from his face; with this result, the audience were smiling all the time Launcelot was in view. You knew, as you looked at him during his self-argument between duty and inclination, that his mind was already made up to run away, and that his conscientious scruples (if he really ever had any) were overcome before he uttered them. His practical jest with his father, when he misdirects him to the Jew's house, indicated that it was but a sample of the pranks the young man had played upon him all his life, and the bright twinkle in his eyes as his young mistress called him "a merry devil" connoted a thousand tricks that the young rascal had played during the term of his service in the Jew's house and robbed that somewhat dreary residence of its "taste of tediousness." Mr.

Carter's business on the delivery of Jessica's letter to Lorenzo was original and good; his exaggerated obeisance to the several friends in company with that gentleman being particularly characteristic and happy. In the last act of the comedy, too frequently omitted in representation, Mr. Carter's appreciation of Shakespearean humor was manifest. The importance of his new employment, his vanity in his "rare new livery," and confidence of privileged service were delightfully presented, and rounded out a performance as notable as it was consistent and effective. "The Merchant of Venice" held an important place in the repertoire of the late Mr. Richard Mansfield. In discussing the various characters in the play with that distinguished gentleman, he told me he considered the Launcelot Gobbo of Mr. A. G. Andrews, of his company, the best he had ever seen. It did not surprise me, for I knew Mr. Andrews to be a thorough and painstaking artist, studying out to the most minute detail every point of his make-up, costume and business. Mr. Andrews presented Launcelot as a boy to whom life was a very serious problem.

His costume was extremely characteristic; his doublet and trunks were worn and patched, his hose seamed and darned, and his sandal-shoes with their leather straps had seen service hard and long. He made his first entrance from his master's house hastily, then looked round fearfully and, finding himself unobserved, sat down upon the door-step and seriously held self-communion as to the justice of leaving his master's service. In other respects he followed the traditional business of the part; but nothing was exaggerated, rather subdued; his object being to present Launcelot as a possible human being, and not an impossible clown, as many comedians have done. The humor of the part was always present, never intruded, but conveyed naturally and without effort: the result being a well proportioned and artistic performance. How to cite this article: Warde, Frederick. The Fools of Shakespeare. London: McBride, Nast & Company, 1915. Shakespeare Online. 20 Feb. 2011. (date when you accessed the information) < >. ______ Old Gobbo | Shakespeare Wiki | Fandom powered by Wikia Share Ad blocker interference detected!

Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Old Gobbo is the father of Launcelot Gobbo, the clown in The Merchant of Venice. Although he only appears in a brief comedic segment in Act II, Scene II, we find out quite a bit about him; his wife (Launcelot's mother) is named Margery, and he owns a "fill-horse", or plow horse, implying that he may be a farmer. His first name is unknown, but it's possible that his son is named after him; Launcelot's name in the quartos and folios is "Launcelet" (diminutive, meaning "little Launce"), and he refers to himself specifically as "young Master Launcelot", so his father could be "old Launcelot" as well as "old Gobbo." (This isn't necessarily the case; it may have been customary to indicate the age of the person spoken of.

Launcelot later refers to Bassanio as his "young master", although he could be insultingly contrasting Bassanio with Shylock, the latter being his "old master" in both senses of the word.) According to Launcelot, Old Gobbo "did something smack, something grow to, he had a kind of taste..." The meaning of these lines is somewhat unclear, but they appear to point to a tendency towards infidelity, and perhaps a penchant for cheating and trickery in other matters. When Old Gobbo shows up, he appears to be rather feeble--he is "sand-blind" (as opposed to stone-blind, which at the time meant "completely blind"--although Launcelot believes that a better term would be "gravel-blind") and doesn't recognize his own son. Launcelot is at first delighted and practices trickery on his father's blindness, but he soon becomes perplexed when his father continues not to recognize him, and then frustrated as he attempts to convince him of his own identity. When Launcelot proves himself to be Gobbo's son by mentioning that "Margery, your wife, is my mother", the two are happily reunited.

Old Gobbo is delighted to find that his son has grown an impressive "beard"; according to theater tradition, he has accidentally seized upon Launcelot's long hair, and Launcelot has little or no beard at all. Launcelot informs his father that he plans on running away from his master, Shylock , unless he can get a position among Bassanio's servants; finding that Old Gobbo has brought a "dish of doves", he encourages him to give them to Bassanio, instead. At this moment Bassanio happens along with several of his servants. Father and son attempt to explain the situation to him, with Launcelot simultaneously encouraging Gobbo to do the talking and interrupting everything he says. Finally, Bassanio tells Launcelot that Shylock has already recommended him as a servant, and tells Old Gobbo to accompany Launcelot to Shylock's house to take his leave. Launcelot walks away with his father, and, although Launcelot recurs, Old Gobbo makes no more appearances in the play.

Launcelot Gobbo Launcelot Gobbo Launcelot Gobbo is a quick-witted young fellow who is originally Shylock’s servant. Badly-fed in that household, he switches his allegiance to Bassanio. He is friendly with Jessica, whom he teases remorselessly about her Jewishness. A trickster, he also teases his blind father, pretending to be someone else, and not letting him complete his sentences when they are asking Bassanio to take him into his service. On his last day at Shylock’s, he serves as go-between for Jessica and Lorenzo. He follows Bassanio to Belmont, and remains there with Lorenzo and Jessica. Lancelot Gobbo - YouTube Lancelot Gobbo Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Published on Nov 12, 2012 Monologue Shakespeare's Comedy The Merchant of Venice - Launcelot Gobbo's soliloquy Explanatory Notes for Act 2, Scene 2 From The Merchant of Venice. Ed. Felix E. Schelling. New York: American Book Co. The old stage direction reads: "Enter the Clowne alone." This term, like the term fool, was carelessly employed in Shakespeare's time. Launcelot is neither a fool nor a clown within the strict meaning of either word. The student is advised not to try too narrowly to make sober sense out of Shakespeare's inimitable nonsense. Logic is not Launcelot's forte; and as to some of his phrases, we may well echo Dr. Furness's warning in the words of Bottom: "Man is but an ass if he go about to expound this." In this scene Launcelot changes his service from Shylock to Bassanio, and Gratiano is granted his suit to accompany Bassanio to Belmont. 9. scorn running with thy heels. To scorn a thing with the heels, to kick at it, was a proverbial saying.

Compare Much Ado About Nothing, iii. 4. 51: "I scorn that with my heels." 11. Via! Italian for away; and very commonly employed. 12. for the heavens, for heaven's sake. 17. did something smack [of the knave] ... grow to, has been explained as "a household phrase applied to milk when burnt to the bottom of the saucepan, and thence acquiring an unpleasant taste." 25. God bless [or save] the mark, is used as a parenthetical excuse for the use of a profane or disrespectful word. Launcelot is here waggishly apologizing for using the word devil. Compare the clause, "Saving your reverence," below, line 27, used in precisely the same manner. 29. incarnal, Launcelot means incarnate. The "nice derangement of epitaphs," as Mrs. Malaprop afterwards called this use of a word of similar sound but of different sense for ludicrous effect, is very common in the old drama. 37. sand-blind, purblind, half-blind. Compare stone-blind, wholly blind; high-gravel-blind is of course Launcelot's jest.

39. confusions, Launcelot's word for conclusions; but Launcelot's conclusions are confusions, as the rest of this interview discloses. 44. marry, originally Mary, a remnant like by'r Lady (by our Lady), God's sonties below, and dear me (Deus meus) of a ruder age in which everyday conversation was interlarded with oaths. These terms had by Shakespeare's day ceased to have more force than mere exclamatory phrases or expletives. 47. sonties. Variously derived from sanctities or from saints, saunties, little saints. Compare by'r Lakin, "by our Ladikin." 55. well to live, with every prospect of living long. 58. Your worship's friend and Launcelot, sir. Launcelot whimsically endeavors to get his father to speak of him as Master Launcelot, which his father is unwilling to do out of respect for his "worship," whom he thinks he is addressing. 59. But I pray you, ergo, old man.

Launcelot is not without some sense of the meaning of the learned word which he uses. I pray you, ergo [for that reason, because he is my worship's friend, call him] Master Launcelot. But enough: Launcelot is trying his "confusions" on us as well as on his father. 61. an't, if it. 64. father, a general term used in addressing old men. Gobbo does not as yet recognize his mischievous son. 71. hovel-post, post supporting a shed. 82. give me your blessing. Here, according to an old stage tradition, Launcelot kneels with his back to his father, who, groping about, touches his son's long hair, and mistaking it for a beard, of which Launcelot has no sign, says, "Pray you, sir, stand up: I am sure you are not Launcelot, my boy." See below lines 86-91. 100. fill-horse, shaft-horse. 110.

set up my rest, a phrase taken from the fashionable game of primero , signifying, to stand by the cards one has in one's hand; and hence to determine, make up one's mind. 114. tell, count. 115. give me [i.e. for my benefit] your present. The old dative of the personal pronoun is often used where we should use for me or to me; sometimes where the word would seem unnecessary to the modern reader. Compare the phrase, "Do me a favor." 115. your present. Old Gobbo is the bearer of a gift from the country to Shylock, Launcelot's master. This gift Launcelot diverts to Bassanio, with whom he desires to take service. 119. I am a Jew. An asseveration used elsewhere. Compare Much Ado About Nothing, ii. 3. 272: "If I do not love her, I am a Jew." 121. The old editions read, "Enter Bassanio with a follower or two." 121. hasted, hastened. 123. put the liveries to making, have the liveries made.

The old termination en was often confused with ing in Elizabethan English. 125. anon, at once. 128. Gramercy! French grand merci, much thanks. 133. infection, for affection, desire. 139. cater-cousins, a word of doubtful derivation and original meaning, applied to persons on intimate terms with each other, and used occasionally as if synonymous with cousins-germain. It has been thought that the word is connected with cate or cake, and caterer; and means mess-fellows. 142. fruitify, for certify. 152. defect, for effect. 155. preferr'd, recommended for promotion. 158. The old proverb. Launcelot alludes to the saying, "The grace of God is gear [wealth] enough." 162. inquire...out, seek by asking. 164. guarded, trimmed with braid. 166. Well, if any man, etc. Table is the palm of the hand in chiromancy or palmistry. Take the relative which as referring to table and in the causal relation equivalent to for it doth.

The meaning of the passage then is: There is no hand in Italy offering fairer signs of palmistry than mine, for it doth offer to swear upon a book that I shall have good fortune. 169. Go to, equivalent to our Come, come. To is here an adverb. Compare its use to "to and fro," and the nautical expressions, "heave to, come to." 169. a simple line of life, literally a mean, poor line of life. But Launcelot is speaking ironically in reference to his good fortune. The line of life is the circular line surrounding the thumb. The table line or line of fortune runs from the forefinger, below the other three fingers, to the side of the hand. Launcelot pretends to be reading his own fortune by palmistry, and discovers that he is to be married fifteen times, and other like matters. 176. gear, matter. 178. Notice how the play falls again into blank verse with the departure of the low comedy of Launcelot from the scene. 194. liberal, licentious. 196. skipping spirit. We should say vivacious or frivolous temper.

Compare 1 Henry IV, iii. 2. 60: "The skipping king, he ambled up and down." Spirit is pronounced as one syllable. See below, v. 1. 86. 202, 203. hood mine eyes Thus with my hat. Hats were commonly worn by all persons of station at dinner. To take off the hat, except for courtesy in company, was an acknowledgment of inferiority. 205. ostent, appearance. Compare below, ii. 8. 44: "Fair ostents of love." _______ How to cite the explanatory notes: Shakespeare, William. The Merchant of Venice. Ed. Felix E. Schelling. New York: American Book Co., 1903. Shakespeare Online. 20 Feb. 2011. (date when you accessed the information) < >. ______ Explain the interaction between Launcelot and Old Gobbo in Act II Scene ii of The Merchant of Venice. | eNotes Explain the interaction between Launcelot and Old Gobbo in Act II Scene ii of The Merchant of Venice.

gpane | College Teacher | (Level 3) Senior Educator Posted on November 8, 2013 at 12:16 PM The interaction between Lancelot and his father, Old Gobbo, in this scene, is based on a comic misunderstanding: Old Gobbo is nearly blind and does not even recognise his own son. Lancelot therefore decides to have some fun with him. He asks Lancelot where his son is and Lancelot pretends he is dead. Old Gobbo is shocked, as he was relying on his son for support in his old age. Lancelot finally drops the pretence, but at first Old Gobbo still does not recognise him. When he finally does, Lancelot admits he’s thinking of leaving Shylock, who is a hard master. He wants to serve Bassanio instead. Bassanio coincidentally turns up, and old Gobbo and his son manage to persuade him to take Lancelot on. The interaction between Lancelot and old Gobbo in this scene largely serves as an occasion for comedy.

Lancelot, the Clown, is an established comic character with his witty and ironic observances of other characters and his constant wordplay. This is most evident in this scene in his exchanges with his father, where the element of confusion and misunderstanding increases the comedy of the situation. The scene is of a common type in Shakespearean plays, where lower-class, often vulgar characters provide some comic relief in the form of slapstick and witty worldplay. Yet even amidst the often raucous comedy, such characters often express sombre truths, as here, when Lancelot remarks that: Nay, indeed if you had your eyes, you might fail of the knowing me. It is a wise father that knows his own child. Lancelot observes that even if his father could see properly, he might still not be able to recognise his son – that is to say, he still might not be able to understand him, to really know him.

Lancelot here alludes to his earlier characterization of his father as a bit less than honest and contrasts his father's traits with "wise": The Merchant of Venice Act 2 Scene 2: Lancelot gobbo monolauge - YouTube The Merchant of Venice Act 2 Scene 2: Lancelot gobbo monolauge Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 7, 2012 well? shakespearestuff - The Merchant of Venice The Merchant of Venice Antonio – a merchant of Venice Bassanio– Antonio's friend, in love with Portia; suitor likewise to her Gratiano, Solanio, Salarino, Salerio– friends of Antonio and Bassanio Lorenzo– friend of Antonio and Bassanio, in love with Jessica Portia – a rich heiress Balthazar– Portia's disguise as a lawyer Stephano– Nerissa's disguise as 'Balthazar's law clerk.

Shylock – a rich Jew, moneylender, father of Jessica Tubal– a Jew; Shylock's friend Jessica– daughter of Shylock, in love with Lorenzo Lancelot Gobbo– a foolish man in the service of Shylock Old Gobbo– father of Lancelot Leonardo– servant to Bassanio Duke of Venice– Venetian authority who presides over the case of Shylock's bond Prince of Morocco– suitor to Portia Prince of Aragon– suitor to Portia Magnificoes of Venice, officers of the Court of Justice, Gaoler, servants to Portia, and other Attendants The Neapolitan Prince Neapolitan means of or pertaining to Naples , a city in Italy The County Palatine A county palatine or palatinate [1 ] was an area ruled by a hereditary nobleman possessing special authority and autonomy from the rest of a kingdom or empire . Usually in Scotland or England. The name derives from the Latin adjective palatinus, "relating to the palace", from the noun palatium, " palace ".

[2 ] [3 ] It thus implies the exercise of a quasi- royal prerogative within a county , that is to say a jurisdiction ruled by an earl , the English equivalent of a count . A duchy palatinate is similar but is ruled over by a duke , a nobleman of higher precedence than an earl or count. The nobleman swore allegiance to the king yet had the power to rule the county largely independently of the king. It should therefore be distinguished from the feudal barony , held from the king, which possessed no such independent authority. Monsiour Le Bon --A French lord תוצאת תמונה עבור ‪monsieur le bon‬‏ Falconbridge -- A British lord This is a useful article about lending money with interest to non-jews. I found it helpful because it is written in the context of Merchant of Venice. Antisemitic Images Through the Ages A medieval Antisemitic Image Antisemitic cartoon by Seppla (Josef Plank)--An octopus with a Star of David over its head has its tentacles encompassing a globe.

Efficient Calumny: This Indian entry to the Iran Holocaust Cartoon Contest distills many antisemitic anti-Zionist bigotries Here is an article from Rav Simmons of Aish Hatorah outlining permissible loans in Judaism. .Characteristics of a Shakespearean Comedy Young lovers struggling to overcome obstacles:These obstacles are typically brought about by the elders in the play, often parents or guardians of the lovers. Various circumstances cause the lovers to be kept apart, either literally or figuratively, and thus they must find their way back together in the end. Courtly vs. Pastoral Setting:While intrigue and misunderstanding abound in the urban setting of the noble's court, everything becomes clear and love is allowed to flourish when the characters find themselves in the countryside. Clever plot twists:Shakespearean comedy always involves multiple plot lines, cleverly intertwined to keep the audience guessing. These unexpected twists are always straightened out in a happy ending. Use of puns:Shakespeare was a master of wordplay, and his comedies are filled with puns and witty language games. Sometimes silly, sometimes bawdy, yet always clever, his plays on words are a distinguishing feature of all his works.

You'll need to brush up on your Elizabethan English if you want to catch all of his jokes. Stock characters:Shakespeare, like many classical writers, relied heavily on stock characters for his plays. You'll notice several that keep appearing in The Bard's work: the young couple, the fool, the clever servant, the drunk, etc. These stock characters were instantly recognizable stereotypes to Elizabethan audiences. Happy endings: All Shakespearean comedies end happily. Most often, this happy ending involves marriage or pending marriage. Love always wins out in the end. Characteristics of a Shakespearean Tragedy: The following fourteen points are a summation of a typical Shakespearean tragedy. 1.) Tragedy is concerned primarily with one person – The tragic hero. 2.) The story is essentially one of exceptional suffering and calamity leading to the death of the hero. The suffering and calamity are, as a rule, unexpected and contrasted with previous happiness and glory. 3.) The tragedy involves a person of high estate. Therefore, his or her fate affects the welfare of a whole nation or empire. 4.) The hero undergoes a sudden reversal of fortune. 5.) This reversal excites and arouses the emotions of pity and fear within the audience.

The reversal may frighten and awe, making viewers or readers of the play feel that man is blind and helpless. The audience will regard the tragic hero as an individual who is up against an overwhelming power that may treat him well for a short period of time, but will eventually strike him down in his pride. 6.) The tragic fate of the hero is often triggered by a tragic flaw in the hero’s character. The hero contributes in some way, shape, or form to the disaster in which he perishes. 7.) Shakespeare often introduces abnormal conditions of the mind (such as insanity, somnambulism, or hallucinations). 8.) Supernatural elements are often introduced as well. 9.) Much of the plot seems to hinge on “chance” or “accident”. 10.) Besides the outward conflict between individuals or groups of individuals, there is also an inner conflict(s) and torment(s) within the soul of the tragic hero. 11.) The tragic hero need not be an overwhelmingly “good” person, however, it is necessary that he/she should contain so much greatness that in his/her fall the audience may be vividly conscious of the individual’s potential for further success, but also the temptation of human nature.

Therefore, a Shakespearean tragedy is never depressing because the audience can understand where the hero went wrong. 12.) The central impression of the tragedy is one of waste. 13.) The tragic world is one of action. Action is created when thoughts turn into reality. Unfortunately for the tragic hero, their plans do not materialize as they may have hoped and their actions ultimately lead to their own destruction. 14.) The ultimate power in the tragic world is a moral order; more specifically, the struggle between good and evil. a) The main source of the problems which produces all the death and suffering is evil in the fullest sense. b) This evil violently disturbs the moral order of the world. c) Evil is seen as something negative, barren, weakening, destructive, a principle of death. It isolates, disunites, and annihilates. Only while some vestiges of good remain in the hero, can he/she still exist. When the evil masters the good in the hero, it destroys him/her and those around them. d) This evil is eventually destroyed and the moral order of the world is re-established.

The cycle of a tragedy is as follows: Good….…Evil…….Chaos…....Death…....Re-assertion of Good

Question: In which Shakespeare play will you find the servant 'Lancelot Gobbo'?
Answer: The Merchant of Venice